brat - review

Charli XCX has come a long way since “Boom Clap.” From being the subject of internet punch-lines (think, “I thought this song was big in Germany!”), to successfully bridging the gap between traditionally structured pop music and “hyper-pop,” it stands to reason that her recent spike in recognition is long overdue. Thus arrives arguably the most anticipated-by-the-gays album of the year, her sixth studio effort, “BRAT.” Backing an album cycle full of surprise club appearances, DJ sets, and festival performances, “BRAT” arrives just in time for a guaranteed sweat-centric Pride month. 

“360,” the album's chatty opener and 4th pre-release single, makes about as big of a statement on its own as its cameo-packed music video. Capturing the essence of “BRAT,” the track effortlessly exudes it-girl energy, with the video drawing comparisons to Taylor Swift’s “Bad Blood” (for girls who do coke…). Aligning with this theme flawlessly comes “Mean girls,” a track that borders on the “how many modern-culture-references can I fit into a song?” trope in a way that doesn’t feel like a sell out, or a scheme for TikTok sound engagement. “Worships Lana Del Rey in her airpods,” Charli name drops, capturing instant relatability from a niche audience.

Enveloped between, and sometimes inside of, bouncy, pulsating, club production sit some of Charli’s most vulnerable lyricism to date. On the ethereal tribute to friend and collaborator SOPHIE, titled “So I,” Charli dives head-first into unfamiliar territory. Reminiscing on rejected dinner invites and confessing heartache in performing the “songs she left behind,” “So I” serves as not only a touching homage to SOPHIE, but a universal mantra for people grappling with loss. On “I think about it all the time,” and “I might say something stupid,” confessions of regret and fear glisten over minimal beats, with the former sounding so raw it evokes a polished-sense of imperfection.

As promised in the album’s initial announcement post, “BRAT” has an overwhelming amount of moments bound to soundtrack the dance-floor on repeat. “Sympathy is a knife,” plays with self-doubt and uncertainty, with violent production cutting through questioning lyricism; “I feel all these feelings I can’t control… Why I can’t even grit my teeth and lie?” “Rewind,” a diaristic track that captures the complexity of self-worth and belonging, submerges her audience in a journey of reflection. High-BPM melodies and glitchy synths resonate across the record, carrying through less-traditionally stuctured tracks like “B2b” and “365.”

The lead single, “Von dutch,” situates itself perfectly mid-album, reinforcing her bad girl status amidst the chaos. Although the message could be perceived as arrogance to some, its placement in the album feels more-so like self-reassurance. “I’m your number one,” she repeatedly chants, winking at the gossip and expressing her amusement in the obsession. On “Everything is romantic,” an obvious standout, Charli revisits tracks like “pink diamond” from 2020’s “how i’m feeling now” in an unwonted approach. A disarrayed catalog of items (“Jesus Christ on a plastic sign, white sheets with lace curtains”) pieces itself together over a bold rhythmic experiment, contributed by A.G. Cook, a frequent collaborator of Charli’s, and the genius behind much of “BRAT.”

Commercial success has never been of high priority to Charli, and on a project like “BRAT,” that feels like a canvas for creative liberation rather than a platform for mainstream acclaim, her artistic integrity has never been more solidified. It’s a delicate balance of exhilarating, cathartic, genuine, and bitchy, tugging at the threads of the mainstream music industry and further committing to her mission of deconstructing it.